“I am freedom, I’m constriction
A potpourri of contradiction”
With rather serendipitous timing, the West End cast recording for Cyndi Lauper’s score for Kinky Boots
is released just in time for the show’s Best New Musical victory at this year’s Olivier awards. And it is particularly good news for fans of the show as up until now, we’ve had to make do with the Broadway cast recording and their, challenging shall we say, approach to the requisite British accents.
Recorded live at the Adelphi with the original West End cast (including Best Actor in a Musical winner Matt Henry and nominees Killian Donnelly and Amy Lennox), it’s a welcome addition to playlists and CD collections everywhere.
The live recording is be a double-edged sword – there can be more raw energy than one might expect from a recording booth and that comes in the form of an audible audience. I quite like to hear their laughter, especially when it is from something familiar as in the comic genius of Lennox’s performance of ‘The History of Wrong Guys’ here, but the applause at the end of each track is jarring when listening to the album as a whole. And I’m not 100% certain but I’m pretty sure there’s someone coughing a couple of times which is a shame (though perfectly replicates sitting through pretty much any show!). Continue reading “Album Review: Kinky Boots (Original West End Cast Recording)”
“Funk it up till it’s ostentatious
Dress it up, it feels contagious”
Now extended through to May next year, the signs for Kinky Boots look cautiously positive though nothing is certain in the cut-throat world of new musicals and on this second viewing, it really does feel like a well-deserved success. Jerry Mitchell’s production is a ray of tightly choreographed, dragged-up sunshine but what I loved about going back was finding that several of the tunes from Cyndi Lauper’s accomplished score have successfully navigated earworm territory to become properly memorable.
‘Everybody Say Yeah’ and ‘Raise You Up/Just Be’ end the show’s two acts in brilliantly rousing fashion, ‘Sex is in the Heel’ and ‘What A Woman Wants’ give Matt Henry’s Lola ample opportunity to fill the stage with exuberant personality and Amy Lennox continues to pretty much steal the show, not least in ‘The History of Wrong Guys’. And Killian Donnelly effortlessly smooths over some of Charlie’s more dubious character flaws (poor Nicola…) by scorching through hits like ‘Soul of a Man’. Continue reading “Re-review: Kinky Boots, Adelphi”
“Drag queens are mainstream. Just this morning I was offered a gig singing at a nursing home. A nursing home, Charlie. In Clacton.”
It’s taken its time to get here but Kinky Boots has now arrived in some style at the Adelphi Theatre and you can read my 5 star review for Cheap Theatre Tickets right here.
Running time: 2 hours 30 minutes (with interval)
Booking until 6th February
“Why God? Why today?”
I wasn’t the hugest fan of Miss Saigon first time round as my review from then clearly attests but I’m never one to be entirely closed-minded (though it may not often seem that way…) so when the opportunity to take a friend who had not previously been popped up, I made a return visit to the Prince Edward Theatre. The show is still basking in the glow of recently winning 9 What’s On Stage awards and it is clear that it is attracting a younger and atypically passionate crowd (for a West End show at least).
That passion cuts both ways though as the overexcited group behind us couldn’t hold back from the flash photography and the young woman in front of me was less enthused than the rest of her party and spent most of the show on Facebook. It makes for a different kind of theatre experience when you’re having to do battle with that kind of behaviour but given my continued lack of engagement with the storyline of this particular musical theatre behemoth, it was as much a distraction for me as anything. Continue reading “Re-review: Miss Saigon, Prince Edward Theatre”
“Hey Joe, try taking a little excursion
You’ll feel good from a little perversion”
There’s a real generational split when it comes to Miss Saigon – a contemporary of such 80s mega-musicals as Phantom and Les Mis, it has comparatively fallen by the wayside in terms of longevity nor has its score really attained the status of a bona fide classic. So there’s a group of people familiar with the show ready and waiting to make comparisons between the original and this major revival at the Prince Edward Theatre, and then there’s the rest of us – me included – for whom this is a new experience.
And as is often the case when expectations have been pumped sky-high (“Box office records broken on the first day!” “The greatest musical ever?!” “Watch out for the helicopter…”), it isn’t immediately clear what all the fuss is about. Claude-Michel Schönberg and Alain Boublil’s book is basically Madame Butterfly redux but transplanted to the Vietnam war as GI Chris is loved long-time by Kim, their love then forced apart by the US defeat in Saigon and a reunion, of sorts, organised once he finally discovers that he left more than his heart with Kim that evening… Continue reading “Review: Miss Saigon, Prince Edward Theatre”
“There’s only one reason you’re here tonight”
The rebranding of the New Players Theatre as the Charing Cross Theatre has to be one of the least effective I have come across in quite some time. The theatre itself, the signage and the website still bear the old name, only the tickets actually say Charing Cross on them which makes for a strange state of affairs. It is now playing late-night home to Naked Boys Singing, which is proving remarkably enduring given that this is the fourth outing for Phil Willmott’s production after previous runs at the King’s Head and the Arts Theatre: what could its appeal be…?!
It’s a musical comedy revue loosely in the style of A Chorus Line, following 7 guys as they audition for and then perform in a show which requires them to be in the nude. Which they do, eventually. But before that, there’s an attempt at trying to add depth to proceedings by filling the back-story of some of the protagonists and philosophising about what it means to really get naked, but given that the height of humour here is men shouting as many different terms for male genitalia as they can, any level of sophistication is pretty much wasted. Continue reading “Review: Naked Boys Singing, Charing Cross Theatre”